IN SEPTEMBER 1971in “Notes on the Spectator,” his editorial statement for the inaugural issue of the Milanese art journal DataTommaso Trini discerned the collapse of a classic avant-garde opposition between art and anti-art. The embrace of previously rejected forms, an ever-quickening cycle of acceptance increasingly determined through the “complicity of a clique [gruppetto] of spectators-readers-dealers-critics-collectors,” had imploded when artists definitively joined the gruppetto, making their function as producers indistinguishable from that of participants in art’s consensual reception. No longer could one speak of an extra-artistic work or situation, but instead only of the discursive nature of a given context as well as of presentational styles and other “elements [that] underlie communication in art,” all of which had in fact become the work of art. Trini named collectors